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Yo-Yo Ma, Cello Sunday, September 30, 2018, 7pm Hearst Greek Theatre Yo-Yo Ma, cello Johann Sebastian Bach (1685–1750) e Complete Cello Suites Suite No. 1 in G Major, BWV 1007 Prélude – Allemande – Courante – Sarabande – Menuet I and II – Gigue Suite No. 2 in D minor, BWV 1008 Prélude – Allemande – Courante – Sarabande – Menuet I and II – Gigue Suite No. 3 in C Major, BWV 1009 Prélude – Allemande – Courante – Sarabande – Bourrée I and II – Gigue Suite No. 4 in E-flat Major, BWV 1010 Prélude – Allemande – Courante – Sarabande – Bourrée I and II – Gigue Suite No. 5 in C minor, BWV 1011 Prélude – Allemande – Courante – Sarabande – Gavotte I and II – Gigue Suite No. 6 in D Major, BWV 1012 Prélude – Allemande – Courante – Sarabande – Gavotte I and II – Gigue is evening’s performance will be performed without intermission and will last approximately two hours and 15 minutes. This performance is made possible, in part, by Patron Sponsors Nadine Tang and Bruce Smith. Major support provided by The Bernard Osher Foundation. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. 5 PROGRAM NOTES ach’s cello suites have been my constant in my late twenties; it was a time of new pur - musical companions. For almost six pose in my life: thanks to the extraordinary Bdecades, they have given me sustenance, support and devotion of my wife, Jill, I had suc - comfort, and joy during times of stress, cele - cessfully undergone major spinal surgery, and bration, and loss. What power does this music we were looking forward to starting a family. possess that even today, aer 300 years, it Sheldon Gold, the visionary founder of ICM continues to help us navigate through troubled Artists and my manager at the time, challenged times? What did Pablo Casals find in this music me to perform and record the suites. I felt it was that made him devote his life to bringing it a somewhat brazen idea: who was I to do what to the world? And why am I sharing it with many older artists waited decades to accom - you, today? plish? But I believed then, as I still do, that a ree memories from early life return when - recording is a snapshot of a moment, and it was ever I play or hear the suites. My father taught music that I had been living with since I was me the first suite, measure by measure, when a child. e recording captured my deep grati - I was four years old, and I remember as a child tude for a new lease on life. the aesthetic pleasure of finding just the right I was entering my forties when I recorded the space and timing between the gentle landing suites a second time. For years, I had been re - of the last note of the Sarabande and the slight ceiving letters from children and adults writing increase of energy in the Menuet’s initial lilt. to say how this music inspired them. I wanted e second memory is from my father, a vio - to share the suites’ creative force with more linist who spent World War II in both China people, so I decided to perform an experiment. and France. He used to tell me about the utter What if I asked a number of deeply imaginative loneliness he felt in occupied Paris during the artists—choreographers, filmmakers, and a gar - blackout, and how he would spend his days den designer—to each immerse themselves in memorizing Bach sonatas and partitas, then a different suite? What would emerge from play them to himself at night. e final memory their art forms? e result was Inspired by Bach , is of discovering the words of my musical hero. six films documenting this process of immer - I was a teenager when I first read the memoirs of sion and creation. Pablo Casals and found a philosophy for music So, why a third time? and life that resonated then as it does now, even Now that I’m in my sixties, I realize that my more strongly: I am a human being first, a mu - sense of time has changed, both in life and in sician second, and a cellist third. music, at once expanded and compressed. I am Over the years, I came to believe that, in conscious of the fact that my grandson Teddy— creating these works, Bach played the part of a my daughter Emily’s firstborn—will be 83 in the musician-scientist, expressing precise observa - year 2100, and that, as I write this, we are just tions about nature and human nature. He did months away from the 100th anniversary of the so, in the first three suites, by experimenting end of World War I, the Great War that was with all that the cello can do as a solo instru - meant to end all wars. ment. In the final three, he demanded even My son Nicholas recently reminded me that more of the cello, and of himself, asking a when Fred Rogers, of Mister Rogers’ Neigh bor - single-line instrument to speak in multiple hood , was asked where he turned in times of voices. His compositional invention is at once crisis, he repeated his mother’s advice to “look explicit and implicit, requiring the listener’s for the helpers.” Casals, my father and I, and unconscious ear to fill in what the cello can only countless others found a helper in Bach. Music, suggest, achieving a sonic and architectural like all of culture, helps us to understand our richness that ultimately transcends the instru - environment, each other, and ourselves. Culture ment itself. helps us to imagine a better future. Culture I’ve just finished my third recording of these helps turn “them” into “us.” And these things works. e first time I recorded the suites I was have never been more important. Opposite: Yo-Yo Ma, photo by Jason Bell. PROGRAM NOTES is concert is just one stop on a journey to internalized. Nevertheless, the counterpoint share this music with people seeking equilib - in this music, the backbone of everything that rium and solace at a moment of unprecedented Bach wrote, is in no way less sophisticated or change. I share this music, which has helped developed. shape the evolution of my life, with the hope erein lies, perhaps, one of the secrets of that it might spark a conversation about how these works’ power, and why it strikes me as culture can be a source of the solutions we need. essential music for us in the 21st century. Much It is one more experiment, this time a search for of the counterpoint is implied, le for the per - answers to the question: What can we do to - former to make those suggested connections gether that we cannot do alone? clear and for the listener to fill in the longer I invite you to join me on this adventure, line. ere is a very practical reason for this, to listen and be inspired by the helpers in your a challenge that Bach must have embraced in - own life. tentionally when he chose to write such solois - —Yo-Yo Ma tic and difficult music for the cello, which had been until then used only as an accompanying For more about the Bach suites project, visit instrument to support a melody or reinforce bach.yo-yoma.com and explore #cultureinaction. a realized figured bass. It is difficult enough to produce three or four tones simultaneously on a violin. On a cello’s longer strings, the distance hy do Bach’s iconic cello suites, writ - between the notes requires a greater stretch of ten three centuries ago, remain so the hand to move between them, and the gaps Wenduring today? at Bach’s bril - between the strings require more time to make liance is timeless, while true, seems to me a bit those connections. Furthermore, Bach le facile, and not specific enough. ese pieces little by way of direction for interpreting the present enigmatic contradictions, posing spe - phrasing and dynamics, or even the speed or cial challenges for a performer and requiring pulse of the music. Outside of the dance titles, unusual attention and immersion for a listener. there are no indications even of tempo. e e core of Bach’s musical world, as would be contrapuntal direction, the harmonic motion, expected in the cultural and social climate of and the form in the purely melodic movements his time and place, was his deep religious de - like the Gigue in the E-flat Major Suite, or the votion and service to the church; and yet, these Sara bande in the C minor Suite, are all clear, works, among other equally secular master - but not fully spelled out. e implied connec - pieces that he composed during an especially tions, hidden poly phony, and artless expression fruitful period in Köthen between 1717 and require exceptional creativity from the per - 1723, achieve a profound intimacy exceptional former and engagement from the listener, even for his genius. ere is no dramatic eccle - establishing an unusual relationship between siastical narrative in these stylized dances—this cellist and audience. is Bach at his most abstract, which might ac - Transcending even Bach’s profound devout - count for why the music seems to demand such ness, these works are statements of faith pared focus from the listener. Bach’s mastery of com - down to their purest essence. When Yo-Yo Ma plex counterpoint, on virtuosic display in so asked me to write these few sentences, it gave much of his music, from large-scale choruses me the opportunity to reconsider both the to his solo organ works, does not seem at first music and his approach to it.
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